In this thesis, the author explores the drag scene in Ljubljana from an off stage perspective, with an emphasis on material culture, the role of liminoidity and its interweaving with liminality in costume and drag transformation, knowledge transfer and queer family ties. The author begins with exploring different aspects of drag and situates the practice historically, within global and Slovenian context. Then she returns to the material existence of drag community, the role of borrowing and circulation of clothing. Later on she categorises objects necessary for doing drag in 4 categories. She then goes on to explain queer kinship, chosen families, drag houses and drag mothers and daughters, comparing them in both global and local context. The results of fieldwork show that drag is more than alive off stage, and the connections between the queens are an essential part of its off stage existence.
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